HAT AND FIELD

Japanese instrumental four-piece Ain Soph released a greatly admired debut `A Story of Mysterious Forest' in 1980, and despite a reworked line-up here of departing and returning band members, their follow-up arrived six years later, entitled `Hat and Field'. Unsurprisingly, with that title, the band frequently performed music in the Canterbury sound style, but they were also just as likely to incorporate strong symphonic elements and plenty of fiery jazz-fusion, and it makes for an exciting and dynamic set with frequent moments of prettiness and soothing moods as well.

Hardly unexpected with a title like `The Swan Lake', the opener is a prancing symphonic swoon with jazzy soloing breaks, flecked ever so gently with a medieval fancy and touches of soft whimsy that reminds instantly of Camel and wouldn't have sounded out of place on their `Snow Goose' album. `Little Pieces part 1' is a low-key electric piano and dreamy synth interlude, but then it's all business for the ten minute, five-part `Suite - Hat and Field' epic. The band showcase an excellent use of reprising elegant and warmly embracing themes, many that again remind of Camel with the crisp electric guitar melodies, pristine acoustic interludes and serene synth airiness. A last minute blast of fuzzy keyboard wig-out busyness sees `Suite' oddly move right into `Mizzle' that closes out the first side, a frantic jazz-fusion race with plenty of twisting-turning heavy guitar snarls, rumbling drum tantrums and unravelling Seventies-flavoured Mini-Moog runs.

`Canterbury Tale (for Pye Hastings & Richard Sinclair)' opens the second side, a cheerful and romantic symphonic devotion to the two Canterbury scene notables of chiming acoustic guitar magic and mellow electric guitar soloing, reminding of both Caravan and even Richard's time with Camel. `Magic Carpet' is a solo-heavy rocker, `Little Pieces part 2' a lovely piano reprise of the first part from the flip side, and the infectious closer `Pipe Dream' has a jazzy spring in its step and provides plenty of happy-go-lucky back-and-forth rollicking playfulness with fuzzy electric piano noodling and stirring Andy Latimar-flavoured guitar work full of dignity and grandness.

Admittedly a few short stretches come close to being just a little bland, and the Eighties production sometimes gives the music a slightly clinical sound (but hey, even real-deal Canterbury-related LP's like National Health's `D.S Al Coda' from the same decade occasionally suffered the same fate), but this is a hugely charming album, delivered with the technicality and professionalism that is a consistent characteristic of Japanese prog-related groups. Listeners wanting a fine jazz-fusion/symphonic/Canterbury crossover disc should absolutely investigate this one immediately.

Four stars.